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In contemporary society, it is believed that things are changing at an increasingly rapid pace. We see this in newspapers, books, or every speech we listen to that modern (business) life is a race towards new horizons, or towards newness tout court. No matter which standpoint one engages vis-à-vis the rhetoric of change and the accompanying need to innovate and be creative, it is important to reflect upon the way one presents oneself vis-à-vis important stakeholders, including the most invested stakeholder – oneself. It is also within the strong rhetoric of change, that we witness an often-mentioned observation that economic transformation and globalization continue to alter how organizations and employees view work, and that these transformations require that workers and managers understand and adjust to major changes in definitions of and approaches to work, organizational structures, and relationships within and among organizations. Social scientists like Caves (2000) and Florida (2002) argue that creativity, as a resource, is critical for long-term economic development and that creative industries, in particular, act as agents of change that help drive economic development. In fact, creative industries are experiencing rapid growth, both in Denmark (Kultur- og Erhvervspolitisk Redegørelse, 2000; Regeringen, September, 2003) and globally (Pine and Gilmore, 1999), and it is generally believed that there are important lessons to be learnt from the "cultural, creative motor". Yet, they are little understood. Caves (2000) notes that, ‘economists have studied a number of industrial sectors for their special and distinctive features’, but have largely missed ‘the creative industries supplying goods and services that we broadly associate with cultural, artistic, or simply entertainment value’ (Caves, 2000:1).2 What researchers of creative industries have yet to examine, is not only how organizations within the creative industries operate and how the organizational members define and manage work, but also how the very meaning of being a creative company is performed, for example in a process of narrative identity construction. Thus, the purpose of this study is to identify and understand the narrativeforms and processes through which creative enterprises organize and manage their symbolic communication and, in the process, attempt to balance creative-artistic and commercial interests. In this paper, we shall focus upon Zentropa, a filmmaking company that has generally been accredited with the etiquette of ‘creative agent of change’ vis-à-vis the Danish film industry. Thus, Zentropa is recognized as a creative player that has made a difference and it is to this narrative of Zentropa as a creative company that we direct our attention. More specifically, we propose that it matters what narrative is told about a company, and how a specific narrative is enacted, changed, and challenged during the course of a specific development. For a company like Zentropa, for whom the modern mantra ‘there is more identity in deviation than in conformity’ (see e.g. Bauman, 2000; Giddens, 1991; Sennett, 1998), it seems vital to represent and identify themselves as anti-establishment and a rebel with a cause in its way of being a film company in the Danish film field. The very concern with deviation, with being different, seems to force Zentropa to engage in ongoing reflections as to their own narrative identity. In a more general vein, we contend that there is a great need to come to a better understanding of the dynamics of identity (as also pointed out by Albert et al., 2000:14) in a society that appears restless in its infatuated praise of speed, innovation, and change. These are values with consequences for the way we make sense of ourselves and relate to others. Moreover, these are values that seem embodied by the exemplary case chosen in this project, namely Zentropa, an organization that seems almost exhibitionistic in its constant involvement in dialogues in the public space. Thus, Zentropa seems an exemplary case to study the narrative concern of being innovative, as Zentropa has become widely renowned for being innovative and for having contributed to a long-overdue renewal of the Danish film industry, as important characters in the story of Zentropa have narrated themselves as a ‘Maverick’ (Becker, 1982) within the high-framework filmmaking and is generally recognized as a remarkable example of innovativeness in Denmark (Kultur- og Erhvervsministeriet, 2000). This paper focuses more specifically on the way in which Zentropa performs an identity in interaction with one of its very significant others, namely the written press. This paper is in particular interested in studying how organizations through different forms of interaction and communication with the business media present and get their enterprises represented. Communication is obviously not a one-way street, thus this study will focus on the complex interaction between the creative enterprise and the business media.

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This Working Paper argues that the film industry is a paradigmatic example of how the organization of the cultural economy is shaped by balancing creativity with contextual issues. In the film industry, organization is far from determined only by creative concerns for content production: Issues of cost, chance and collection also play important roles. Through analyzing creativity and its context in the film industry, the paper explains the industry’s organization, and opens up for understanding its significant national and regional differences. The paper carries out a literature study of economic, socioeconomic and economic geography literature on the film industry, analyzing the importance of creativity, cost, chance and collection in the film industry, and exemplifies how these issues are balanced differently in different clusters. The analytical framework presented in the paper may be used to understanding different "models” of filmmaking. Creativity, film industry, organization, innovation, transaction costs

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Despite the celebration and promotion of the creative economy, there is still a “dark” side
to creativity. Creativity entails experimentation, chaos and failures. A creative space blends the
aesthetics with chaos, sleek design with experimentation, and economic development with
failed ideas. This case looks at the ambiguous and ambivalent interfaces of history in the
historical city of Melaka (also known as Malacca) in Malaysia.
History, by its definition, is a documentation of the past. Any historical documentation
can be contested and revised. This case will not engage in the debate on revisionist history.
Instead, it will show how history and heritage is negotiated and appropriated under present
circumstances in the historic city of Melaka. The re‐interpretation and revision of history is part
of the everyday creative response to changing circumstances. Such contemporary responses to
the past, however unclear and acrimonious, are the essence of a creative place.

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Social media has transformed the web into a hyper-connected social space that is inundated by a flood
of social signals that reflects the activities of the members, and contributes to the dynamic of the
interaction. In this context, the participants decode, process and emit information for making sense of
this social world, and for acting upon it. The objective of this paper is to explore the implication of this
setting for an application in the context of supporting creativity online. More specifically, we examine
the effect of the massive circulation of this social information and its management on systems
supporting the collective creative process online.

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This case focuses on juries that award prizes at film festivals. Prize juries
usually award a preordained set of prizes to a preselected slate of films, but
on grounds or criteria that are usually up to the actual jury itself to formally
or informally establish and administer. The consequences of film festival prize
jury allocations can accrue to many different groups and individuals. The
most obvious beneficiaries are the persons associated with the films and roles
that win prizes, though what the tangible benefits of winning prizes are
depend both on what prize at what festival and still is a matter of debate. The
film festivals themselves and their leadership also are impacted by the jury
and its decisions, as these build or erode legitimacy and publicity for the
festival. Likewise, the jury members themselves may receive a number of
benefits from their jury work, as elaborated on below.

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Singapore has embarked on an ambitious program to make the city-state into a significant player in the global creative economy. The country is being re-branded as a creative city. The government agrees that in the creative economy, the environment must be conducive to experimentation and innovation. As a result, more social and political spaces have been opened up to spur Singapore’s fledging creative economy and also to signal that the nation has become more transparent and tolerant. The authorities, however, still limit the freedom of public expression on political, ethnic and religious issues. The current state of ethnic-religious harmony and political status quo is to be preserved. Singapore remains a soft-authoritarian state. Can such a country then be branded as a place conducive to creativity and innovation? This paper shows how the Singaporean government: 1) introduces and implements a set of comprehensive policies to develop the creative economy; 2) brands and re-images the city-state as an exciting creative nation; 3) communicates the new creative vision and eventually engineers local acceptance of the creative economy; and 4) promotes the image of an open society and yet maintain tight social and political control. The re-making and re-imaging of Singapore are two sides of the same coin.

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The scenario considered is that of a credit association, a bank or an-
other nancial institution which, on the basis of information about a
new potential customer and historical data on many other customers,
has to decide whether or not to give that customer a certain loan.
We discuss three popular techniques: logistic regression, discriminant
analysis and neural networks. We shall argue strongly in favour of
the logistic regression. Discriminant analysis can be used, and for
reasons that can be explained mathematically it will often result in
approximately the same conclusions as a logistic regression. But the
statistical assumptions are not appropriate in most cases, and the
results given are not as directly interpretable as those of logistic re-
gression. Neural network techniques, in their simplest form, su er
from the lack of statistical standard methods for veri cation of the
model and tests for removal of covariates. This problem disappears
to some extend when the neural networks are reformulated as proper
statistical models, based on the type of functions that are considered
in neural networks. But this results in a somewhat specialized class of
non{linear regression models, which may be useful in situations where
local peculiarities of the response function are in focus, but certainly
not when the overall | usually monotone | e ect of many more or
less confounded covariates is the issue. We discuss, within the logistic
regression framework, the handling of phenomena such as time trends
and corruption of the historical data due to shifts of policy, censor-
ing and/or interventions in highrisk customers' economy. Finally, we
illustrate and support the theoretical considerations by a case study
concerning mortgage loans in a Danish credit associatio

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Limits on Economic Harmonization in The United States and The European Union

Sweeney, Richard J.(København, 2003)

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Abstract:

The U.S. Constitution importantly limits the degree to which the federal government
can impose harmonization across member states. This paper reviews these limitations and
how they have evolved substantially over time in the U.S. It also discusses some of the
benefits and costs of such limitations, and argues that the EU may benefit from adopting
similar limitations. Harmonization of EU tax codes is likely to be economically harmful. On
theoretical grounds, tax rates are likely to be harmonized at a common rate that is higher than
optimal for the EU. This suggests the benefits of constitutional provisions that make tax
harmonization difficult to impose. Other types of harmonization have a less clear-cut costbenefit
analysis. A federal commercial code that is uniform across member states reduces
transaction and information costs, compared to leaving important code issues to member
states; further, many states may keep codes for long periods that are sub-optimal compared to
a given federal code. A federal code may, however, fit poorly with other institutions of
member states, potentially causing large costs. Leaving codes to the states leads to
competition across states, and may generate forces for change for the better. Competition also
generates information about the effectiveness and costs of different commercial codes.
Because any country’s initial code is likely to be sub-optimal, and is likely to become less
optimal over time, information on how to improve codes is valuable. Likely it is easier to
learn and adapt from member states than from other countries.

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This paper reviews the IS security literature for the period 1990-2004. More specifically three security journals and the top twenty IS journals were examined. In total 1280 papers were analysed in terms of theories, research methods and research topics. Our research found that 1043 of the papers contained no theory. In addition, almost 1000 of the papers were categorized as ‘subjective-argumentative’ in terms of methodology, with field experiments, surveys, case studies and action research accounting for less that 10% (8.10%) of all the papers. Fifty nine research topics were identified with fourteen of these topics totaling 71.05% of the articles.
This papers offers implications for future research directions on IS security, scholars to publish IS security research, tenure practice, and IS security classification schemas.

In this paper, we present the results of a pilot study in Denmark of cross cultural effects on Think Aloud usability testing. We provide an overview of previous research on cross cultural usability evaluation with a special focus on the relationship between the evaluator and the test user. This relation was studied in an experiment with usability testing of a localized clipart application in which eight participants from Denmark and India formed pairs of evaluator-test user. The test users were asked to think aloud and the evaluators’ role were to facilitate the test users thinking aloud and hereby identify usability problems with the clipart application. Data on the evaluators’ and test users’ behaviour were recorded and analyzed by coding and summarizing statistics on these behavioural events. The results show that Think Aloud Usability Test of a localized application is most effectively performed, in terms of number of think aloud events and number of usability problems found, when both the evaluators and the test users are local. These results are however limited to the Danish context and need to be investigated in other cultural settings.

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Modern governmental approaches to CSR (corporate social responsibility) have two distinguishing traits: they tend to define competitiveness as their primary concern and to make use of liberal and indirect means of steering. Contributing to a political understanding of CSR and focusing empirically on developments within the EU, this paper approaches CSR governance in general and competitiveness-driven CSR governance in particular from the point of view of an analytics of governmentality – thus introducing governmentality studies to the field of CSR. The aim of the paper is first, conceptually, to make sense of the governmentality approach in terms of the practical brand of critique it embodies and its positioning vis-à-vis other comparable contributions to our understanding of the government of CSR. And second, analytically, to propose a framework for analyzing the governmentalities of CSR.